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Somewhat different thinline tele prototype (just the chambered bottom, obviously). Why not pre-cut the wire channels, eh? They'll be hidden when the top gets glued on, and should require less wire-fishing than most styles.

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Tele bodies? Going for the gold already? I just barely witnessed the CB phase come to fruition. I was expecting a tweener like maybe an acoustic build.

 

Second star on the right and on till morning...

 

Mill out a body (B&S) from a single billet (laminated block) of wood and then mill out a top blank for it. Then, each string ball end will attach to and resonate its respective pipe cut and tuned to concert pitch. Think xylophone. The pitch apparatus will be retained transversely by the side of the milled lower bout and sonically fielded by pressure-adjustable contact with the bridgeplate. The strings will merely pass upward through a dimensionally reduced bridge and over a saddle to the standard tuning machines. The break angle will be the moment needed to put the top plate in contact with the pipe apparatus. Once all is set and working, mill off the back of the box to sonically experiment with a back plate. Ervin Somogyi insists this is necessary for the top to achieve its full sonic capability. Until then, leave the milled back intact to retain box strength while fitting everything.

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You lost me with the pipes. On a xylophone, those are resonators for specific frequencies. Quarter wavelength, I think. So they'd have to be pretty big, and fretting would change the frequency such that the pipe would no longer resonate. That's the beauty of a traditional acoustic -- it's not a "tuned" resonator -- different resonances at a broad spectrum colors the tone.

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Just trying to pique your imagination, which seems to be pretty good, for some hybrid thinking.

 

Remember JasmineTea? We discussed devices sometimes, which he was keenly interested in based upon the early effects designs he both owned or had experience with, and I've given some cursory thought to it over the years since then. I just never give it any additional thought as a prototyping possibility.

 

The xylophone's bars are placed above their sympathetic pipes and require striking to emit sound. With the guitar I envision the initial sonic disturbance to be the plucked string placing its sympathetic pipe into resonance, which will be sensed and amplified acoustically through contact with the top. The individual pipes will necessarily need to float (like a jeweled movement) to resonate unimpeded. Upper and lower pivots will do this with the upper pivots integral to the top and the lower pivots integral to the transverse brace. That much is simple.

 

If the strings were to pass through the pipes (diametrically) via hollow (center-drilled) pivots, with the ball ends nested against the bottom side of the lower pivots, the string resonances would ring in the pipes. The resonating pipes, in contact with the top via the upper pivots, would transmit into the toneplate (nee bridgeplate) as would the saddle in the conventional sense. The bridge, saddle and break angle would remain consistent with current designs but the string ball ends would now be nested deeper on the underside of the lower pipe pivots.

 

Is this feasible? Physically speaking, yes. Sonically? Beats me. I can clearly envision the internal apparatus in place but worthwhile acoustic augmentation of the top can only be empirically decided.

Edited by Idunno

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Back in my early n00b phase, I was fascinated with the tonal variance in acoustics and started to collect a few specimens for investigation. One of my favorites was an early Bohmann. Probably dating from the 1890's. Bohmann was one of the first to use X-bracing, and I just loved the tone of that guitar.

 

Anyway, X-braces weren't his only innovation. He also added sympathetically resonating bars and internal sympathetic strings to some of his guitars.

 

Here's a shot of the inside of one:

 

bohmann18.jpg

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Cut out 6 friggin' tele bodies today. The kids took them and did round-overs on the router and then sanded them. I made special spring-steel sanding sticks for them to get into the waist and other curves.

 

3 solid mahogany. 2 solid fir. And, of course, one kid opted to do a fir thinline with curly maple top and custom headstock. Oy.

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All holes drilled and necks fit today. Some kids took their bodies home for a quick finishing job.

Sorry but I had to chuckle at kids taking bodies home. It sounded like those kids were learning embalming or pathology. ;)

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Teaching kids to solder guitar wiring was definitely the biggest hurdle yet. Partly because lead-free solder sucks. Partly because Chinese quality control somewhat sucks. Mostly because I didn't look closely enough at the switches I gave them. I had to do a bunch of rework after class, but now they all work electrically. Tomorrow is the big finale.

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I am spent. That was an intense finale, and I didn't even think about taking pictures. Luckily, somebody else did, so I should get a few pix later.

 

6 working electric guitars. Most of them born right on time. A couple required an extra hour of labor pains.

 

Learned a ton. Not sure I want to do it again. At least not for another year or so.

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OK, one final pic of a kid in the class tuning their new guitar.   This one was a mahogany tele with a satin clear coat.   Pickguard is taped on because I told her to wait until she was sure that was the pickguard she wanted, and a new one might have a slightly different hole pattern.

tuning.jpg

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I picked up where I left off on a few of the early prototypes.    Just got the dual-humbucker CBG working tonight.    Kind of a pain to fit all the electronics in that thin box (which everybody thinks is a laptop).

 

epic sm.jpg

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